Early Fall

"Early Fall, Druid Hill Creek," watercolor on paper, 5x7

This new watercolor was done from the window of my home studio, looking north along the course of "my" creek. Unlike many other watercolors posted here, I didn't use ink but instead employed fine-pointed studio brushes instead of the waterbrushes I use in the field. I did rough in a bit of graphite, mostly to define tree trunks and the railing on the left. Otherwise when line work was needed I mixed a near-black and employed brushes to carry an intensely dark pigment load. Using a sharply pointed brush made forming leaf shapes and thin lines much easier.

Tree Study

"Across the Courtyard." wc/ink on paper, ~8x11

This ink and watercolor study of two trees in the courtyard of a condominium complex came about on an idle afternoon during a recent trip. The different trunks, foliage, and coloring between the two trees--a confier on the left and a deciduous tree on the right--was the main interest. 

 

Late Afternoon

"Late Afternoon Used Cars," wc/ink on paper

This watercolor was done sitting across the street from a used car lot that was in partial shade. The two cars were nearly antiques. One is a 1960 Chevrolet and the other a Mustang from the mid-1960s. In those days I used a pocket sketchbook measuring about 3.5x5.5 so I could carry it in a pocket. The remainder of my sketching gear then included a waterbrush, a swatch of paper towel, and a small metal paintbox that would fit in a pocket. A light set like that was extremely convenient and I still carry very little when outside. 

 

West End

"Coffee Bar, West End Salvage," wc/ink on paper, 8x10

Last weekend the sketch group decided to stay indoors owing to rainy weather. Using my newest sketchbook, which lays completely flat, I did this watercolor and ink sketch. Each page of this particular book is 8x8 inches, and you can work across the flat joint that would be called the gutter in other sketchbooks. 

The site of this one is West End Salvage, an architectural salvage business that also has a coffee bar and tables where we often sketch. Besides it's ground floor there are four more floors of salvage archtectural details--everything from windows to light fixtures to antique signs--so there's ample material for any of our group. 

As always, this was done in a standard sequence of graphite sketch, watercolor, ink detail. 

Doug

"Doug," oil on panel, 14x11

The man in this portrait was a lifelong smoker of cigarettes who developed lung disease and respiration failture when in his seventies. This particular life study was done perhaps a decade before his illness became severe, but there is something sad and also inevitable about his looks even before he became ill. 

Most portraits are joyful, or at least happy, but sometimes the deeper issues in the life of the sitter come to dominate. Carefully observed portraits can sweep back the mask of normalcy. 

The Chaperone

"The Chaperone," oil on panel, 12x9, private collection

When we were much younger, we needed an adult to supervise our social events--parties, dances, and so on. At least some of those women (very rarely men) seemed suspicious and didn't seem to trust our adolescent selves to behave responsibly. 

This oil painting developed from those long-ago experiences. It entered a private collection long long ago. 
 

From Capitol Hill

Last weekend the sketchers split up--about half went to the state capitol across the Des Moines River, east of downtown. The hill is maybe 50 feet higher than the downtown (west) side of the river, so the view are long and panoramic. I sat under a mature shade tree at the entrance to the capitol building and sketched a view of the cityscape. From where I sat the land that slopes down to the river is panted with flowering shrubs and an arboretum of native trees. From the bottom, the ground rises to a stepped plaza fronting the building. 

"View of Des Moines," wc/ink on paper

You could say that my approach to these sketches is primarily illustraional and I wouldn't argue. Certainly these sketches are planned, with deliberate compositional choices, value ranges, and detail. Some painters, regardless of medium, go for the spontaneous stroke of paint, happy accidents and unexpected changes. It occurs to me that such an approach can lead to wonderful results or abject disasters, so I prefer planning. 

This work was done in my usual work flow: graphite drawing, watercolor wash-in. ink high lighting or emphasizing.